In 2011 the Hallé under Sir Mark Elder performed the
Elgar Symphony No. 1. My report of that concert concluded with the words
“there are no better Elgarians around when Sir Mark Elder and his Hallé
Orchestra take wing in music that just runs through their veins.” More
recently in 2013 I reviewed another Bridgewater Hall performance of the
Symphony No. 1 - this time with the BBC Philharmonic under Juanjo Mena. If
that I wrote “Quite simply the performance of the Elgar was a triumph.”
Unquestionably the deep tradition of excellence with Elgar in the North-West
of England continues to flourish and this Onyx recording of
Petrenko's Royal Liverpool Philharmonic demonstrates the continuation
of high standards.
In the right hands Elgar’s concert overture
Cockaigne ‘
In
London Town’ makes a welcome and exhilarating curtain-raiser.
It's a vividly stirring fifteen minute sequence of portraits of
Edwardian London. In the wrong hands it can feel as cumbersome as an ocean
liner turning in tight dock. Here one immediately notices Petrenko’s stately
approach, careful not to take things too fast. Contrast this with his way
with the buoyant, high spirits that bring this score to such a satisfying
conclusion.
These days my expectations of the Liverpool Phil under Petrenko are always
extremely high. They certainly deliver in spades with a splendid performance
of the Elgar
First Symphony. Petrenko conducts an expansive reading
of the blustery opening movement maintaining that crucial underlying sense
of marching tension. With its scuttling and darting main theme the
Scherzo-like second movement is afforded boldly impressive forward
momentum that borders on the brash. Elgar’s expressive music has become
associated with imagery especially of the Monarchy of Edwardian England. At
one time I could visualise the pageantry of a ceremonial event in Whitehall.
Now the music feels more like a rowdy Parliamentary debate. Petrenko’s
transition to the heartbreaking theme of the
Adagio is as seamless
as I wanted. This is intensely passionate music: always tender, often dreamy
and combined with the scent and sounds of nature. Towards the conclusion of
the movement it feels as if Elgar is depicting the deep sorrow of lovers
parting, perhaps on a long ocean voyage. In the final movement Petrenko
provides resolute rhythms in a passage high in buccaneering spirit before
the return of the principal march theme. This optimistic music boasts real
grandeur and it is easy to imagine an important State occasion in say Horse
Guards Parade. Especially impressive throughout is Petrenko’s masterly
control of weight, phrasing and tempo. All combine to near spine-tingling
effect.
Sir John Barbirolli with the Hallé provides my first choice for the Elgar
Symphony No. 1. It was recorded in 1970 at St Nicholas’ Chapel as
part of the Kings Lynn Festival and can be heard on BBC Legends. This
excellent Petrenko recording goes some way to match that Barbirolli disc but
doesn’t quite have the same electric and dramatic intensity. The Onyx
recording is good on clarity but a drawback is the wide dynamic range which
requires considerable volume adjustment. For my taste I prefer more space
around the sound-picture. The consistency of performance from the Liverpool
Phil continues to impress and I’m sure many Elgarians will want to add this
inspiring account of the
Symphony No. 1 to their collections.
Michael Cookson
Previous review:
Ralph Moore
